Review Catch-Up: Jhalak and Women’s Prize Nominees, Etc.
Another in an ongoing series as I catch up on the current and previous year releases I’ve been sent for review. Today I have four books by women: a poetry collection about living between countries and languages, a magic realist novel about vengeful spirits in Vietnam, a memoir in verse about the disabled body and queer parenting, and a novel set in gentrifying Puerto Rican neighbourhoods of New York City.
From the Jhalak Prize longlist:
Honorifics by Cynthia Miller (2021)
Miller is a Malaysian American poet currently living in Edinburgh. Honorifics was also shortlisted for the Forward Prize for Best First Collection. Its themes resonate with poetry I’ve read by other Asian women like Romalyn Ante and Jenny Xie and with the works of mixed-race authors such as Jessica J. Lee and Nina Mingya Powles: living between two or more countries and feeling like an exile versus finding a sense of home.
Nightly, you rosary American synonyms for success learned the hard way: suburb – 10-year visa – promotion – carpool – mortgage – parent-teacher conference – nuclear family – assimilation … Homecoming is the last, hardest thing you’ll ask yourself to do.
“Loving v. Virginia” celebrates interracial love: “Look at us, improper. Look at us, indecent. Look at us, incandescent and loving.” Food is a vehicle for memory, as are home videos. Like Ante, Miller has a poem based on her mother’s voicemail messages. “Glitch honorifics” gives the characters for different family relationships, comparing Chinese and Hokkien. The imagery is full of colour and light, plants and paintings. A terrific central section called “Bloom” contains 10 jellyfish poems (“We bloom like nuclear hydrangea … I’m an unwound chandelier, / a 150-foot-long coil of cilia, // made up of a million gelatinous foxgloves.”).
Miller incorporates a lot of unusual structures, some of them traditional forms (“Sonnet with lighthouses,” “Moon goddess ghazal,” “Persimmon abecedarian”) and others freer forms like a numbered list, columns, dictionary definitions or prose paragraphs. Six of the poems cite an inspiration; I could particularly see the influence in “The Home Office after Caroline Bird” – an absurdist take on government immigration policy.
There’s much variety here, and so many beautiful lines and evocative images. “Malaysiana,” a tour through everything she loves about the country of her birth, was my single favourite poem, and a couple more passages I loved were “the heart measuring breaths like levelling sugar / for a batter, the heart saying / why don’t you come in from the cold.” (from “The impossible physiology of the free diver”) and the last two stanzas of “Lupins”: “Some days / their purple spines // are the only things / holding me up.” Flora and fauna references plus a consideration of the expat life meant this was custom made for me, but I’d recommend it to anyone looking to try out different styles of contemporary poetry.
With thanks to Nine Arches Press for the free copy for review.
From the Women’s Prize longlist:
Build Your House around My Body by Violet Kupersmith (2021)
Back in 2014, I reviewed Kupersmith’s debut collection, The Frangipani Hotel, for BookBrowse. I was held rapt by its ghostly stories of Vietnam, so I was delighted to hear that she had written a debut novel, and it was one of my few correct predictions for the Women’s Prize nominees. The main action takes place between when Winnie – half white and half Vietnamese – arrives in Saigon to teach English in 2010, and when she disappears from the house she shared with her boyfriend of three months, Long, in March 2011. But the timeline darts about to tell a much more expansive story, starting with the Japanese invasion of Vietnam in the 1940s. Each date is given as the number of months or years before or after Winnie’s disappearance.
Winnie starts off living with a great-aunt and cousins, and meets a family friend, Dr. Sang, who’s been experimenting on a hallucinogenic drug made from cobra venom. Long and his brother, Tan, a policeman, were childhood friends with a fearless young woman named Binh – now a vengeful ghost haunting them both. Meanwhile, the Saigon Spirit Eradication Company, led by the Fortune Teller, is called upon to eradicate a ghost – which from time to time seems to inhabit a small dog – from a snake-infested highland estate. These strands are bound to meet, and smoke and snakes wind their way through them all.
I enjoyed Kupersmith’s energetic writing, which reminded me by turns of Nicola Barker, Ned Beauman, Elaine Castillo and Naoise Dolan, and the glimpses of Cambodia and Vietnam we get through meals and motorbike rides. What happens with Belly the dog towards the end is fantastic. But the chronology feels needlessly complex, with the flashbacks to colonial history and even to Binh’s story not adding enough to the narrative. While I’d still like to see Kupersmith make the shortlist, I can recommend her short stories that bit more highly.
With thanks to Oneworld for the free copy for review.
Handbook for the Newly Disabled: A Lyric Memoir by Allison Blevins (2022)
Allison Blevins, a poet, has published five chapbooks or collections and has another forthcoming. Based in Missouri and the director of an indie press, she tells her story of chronic illness and queer parenting in 10 “chapters” composed of multi-part poems. She moves through brain fog and commemorates pain and desire, which cannot always coexist (as in “How to F**k a Disabled Body”).
ride a bike again, hike, carry my children. I’m learning to number what I’ve lost.
Because of the pills, I no longer fall into sleep, I stop. I used to hate queer at 19
when I was a dyke. I can’t be disabled. I need a better word. I need a body that floats—
translucent and liquid—to my daughter’s bed, to cover her like cotton-red quilted stars.
(from “Brain Fog”)
Sometimes the title is enough: “My Neurologist (Who Doesn’t Have MS) Explains Pain Is Not a Symptom of MS.” Other times, what is left out, or erased (as in “Five by Five”) is what matters the most. For instance, the Photo Illustrations promised in the titles of two chapters are replaced by Accessibility Notes. That strategy reminded me of one Raymond Antrobus has used. Alliteration, synesthesia and the language of the body express the complexities of a friend’s cancer, having a trans partner, and coming to terms with sexuality (“I think now that being queer was easy, easy as forgetting / being born”). A really interesting work and an author I’d like to read more from.
Published by BlazeVOX [books] on 22 March. With thanks to the author for the e-copy for review.
Olga Dies Dreaming by Xóchitl González (2022)
This was on my radar thanks to a starred Kirkus review. It would have been a good choice for the Women’s Prize longlist, with its bold heroine, Latinx and gay characters, and blend of literary and women’s fiction. The Puerto Rican immigrant community and gentrifying neighbourhoods of New York City are appealing locales, and Olga is a clever, gutsy protagonist. As the novel opens in 2017, she’s working out how best to fleece the rich families whose progeny’s weddings she plans. Today it’s embezzling napkins for her cousin Mabel’s wedding. Next: stockpiling cut-price champagne. Olga’s brother Prieto, a slick congressman inevitably nicknamed the “Latino Obama,” is a closeted gay man. Their late father was a drug addict; their mother left to be part of a revolutionary movement back in PR and sends her children occasional chiding letters when they appear to be selling out.
The aftermath of Hurricane Maria coincides with upheaval in Olga’s and Prieto’s personal and professional lives. The ins and outs of Puerto Rican politics went over my head somewhat, and the various schemes and conspiracy theories get slightly silly. The thread that most engaged me was Olga’s relationship with Matteo, a hoarder. I hoped that, following the satire of earlier parts (“Olga realized she’d allowed herself to become distracted from the true American dream—accumulating money—by its phantom cousin, accumulating fame. She would never make that mistake again”), there might be a message about the emptiness of the pursuit of wealth. So I ended up a little disappointed by a late revelation about Matteo.
However, I did appreciate the picture of how Olga is up against it as both a woman and a person of colour (“no person of color serious about being taken seriously was ever late to meet white people”). This debut was perhaps a little unsure of what it wanted to be, but the novelty of the main elements was enough to make it worth reading.
With thanks to Fleet for the free copy for review.
Would you be interested in reading one or more of these?
Review Book Catch-Up: Ante, Evans, Foster and White
Today I have a book of poems about the Filipinx experience in the UK, a collection of short stories reflecting on racial injustice, a monograph on a bird that spells summer for many of us, and a biographical investigation into a little-understood medical condition.
Antiemetic for Homesickness by Romalyn Ante
I was drawn to this debut collection by the terrific title and cover, but also by the accolades it received: it was on the Dylan Thomas Prize longlist and the Jhalak Prize shortlist. I hope we’ll see it on the Sunday Times Young Writer of the Year Award shortlist, too. Ante grew up in the Philippines but at age 16 joined her mother in the UK, where she had moved years before to work as a nurse in the NHS. She has since followed in her mother’s footsteps as a nurse – indeed, overseas Filipinx workers (Jamaicans, too) are a mainstay of the NHS.
Ante remembers the years when her mother was absent but promised to send for the rest of the family soon: “You said all I needed to do was to sleep and before I knew it, / you’d be back. But I woke to the rice that needed rinsing, / my siblings’ school uniforms that needed ironing.” The medical profession as a family legacy and noble calling is a strong element of these poems, especially in “Invisible Women,” an ode to the “goddesses of caring and tending” who walk the halls of any hospital. Hard work is a matter of survival, and family – whether physically present or not – bolsters weary souls. A series of short, untitled poems are presented as tape recordings made for her mother.
Food is inextricably entwined with memory (reminding me of Nina Mingya Powles’s approach in Tiny Moons) and provides some of the standout metaphors, especially in “Patis” and “Ode to a Pot Noodle.” Ante uses a lot of alliteration and adapts various forms. I especially liked “Tagay!”, a traditional drinking song, and “Mateo,” printed in the shape of a pound sign. The nuanced look at the immigrant experience reminded me of Jenny Xie’s Eye Level. Movement entails losses as well as benefits. The focus on the Filipinx experience also made me think of America Is Not the Heart. My favourite single poem was “The Making of a Smuggler,” which opens “Wherever we travel, we carry / the whole country with us – // our rice terraces are folded garments, / we have pillars of trees, a rainforest // on a hairbrush.”
“Gone are the nights he steals / the moon with a mango picker / and swaps it for her pocket mirror”
“The yellow admission papers in my hands escaped / flustering at my face into a flight of orioles.”
“I am halved in order to be whole – / I rebuild by leaving / everything I love.”
With thanks to Chatto & Windus for the free copy for review.
The Office of Historical Corrections by Danielle Evans
To boil these six stories and a novella down to the topic of race in America risks painting them as solemn or strident – more concerned with meaning than with art – when the truth is that they are playful and propulsive even though they keep cycling back to bereavement and injustice. Several of the protagonists are young Black women coming to terms with a loss.
In “Happily Ever After,” Lyssa works in the gift shop of a Titanic replica and is cast as an extra in a pop star’s music video. Mythical sea monsters are contrasted with the real dangers of her life, like cancer and racism. “Anything Could Disappear” was a favourite of mine, though it begins with that unlikely scenario of a single woman acquiring a baby as if by magic. What starts off as a burden becomes a bond she can’t bear to let go. A family is determined to clear the name of their falsely imprisoned ancestor in “Alcatraz.” In “Richard of York Gave Battle in Vain” (a mnemonic for the colours of the rainbow), photojournalist Rena is wary about attending the wedding of a friend she met when their plane was detained in Africa some years ago. The only wedding she’s been in is her sister’s, which ended badly.
Mistakes and deceit seem to follow these characters. In the title novella that closes the book, Cassie and her colleagues combat fake news, going around putting correction labels on plaques that whitewash history. When she and her former colleague meet up in Wisconsin to find the truth behind a complex correction case, a clash with a white supremacist group quickly turns pedantry into a matter of life and death. The story I’d heard the most about beforehand was “Boys Go to Jupiter,” about a college girl who dons a Confederate flag bikini, not caring what message it sends to others in her dorm. It turns out she has history with a Black family, but has chosen to airbrush this experience out of her life.
There was only one story I didn’t care for, “Why Won’t Women Just Say What They Want,” about a celebrity who turns apologizing into performance art. Overall, this is a very strong collection I would recommend to readers of Brit Bennett and Raven Leilani, with some stories also reminding me of recent work by Curtis Sittenfeld and Mary South. I’ll be sure to seek out Evans’s previous book (also short stories), too.
With thanks to Picador for the proof copy for review.
The Screaming Sky by Charles Foster
The other week I was volunteering at our local community garden and looked up to see a dozen common swifts wheeling over the Kennet & Avon canal and picking off insects among the treetops. I hope this fellow Foster (for whom my husband was once confused on a nature conference attendee list) would be proud of me for pausing to gaze at the birds for a while. My impression of the author is as a misanthropic eccentric. A Renaissance man as well versed in law and theology as he is in natural history, he’s obsessed with swifts and ashamed of his own species: for looking down at their feet when they could be watching the skies; for the “pathological tidiness” that leaves swifts and so many other creatures no place to live.
The obsession began when he was eight years old and someone brought him a dead swift fledgling for his taxidermy hobby. Ever since, he’s dated the summer by their arrival. “It is always summer for them,” though, as his opening line has it. This monograph is structured chronologically. Much like Tim Dee does in Greenery, Foster follows the birds for a year: from their winter territory in Africa to the edges of Europe in spring and then to his very own Oxford street in high summer. When they leave, he’s bereft and ready to book a flight back to Africa.
Along the way, Foster delivers heaps of information: the fossil evidence of swifts, how they know where to migrate (we have various theories but don’t really know), their nesting habits and lifespan, and the typical fates of those individuals that don’t survive. But, thumbing his nose at his “ex-friend” (a closed-minded biologist he repeatedly, and delightfully, rails against), he refuses to stick to a just-the-facts approach. Acknowledging the risks of anthropomorphizing, he speaks of swifts as symbols of aspiration, of life lived with intensity. He believes that we can understand animal emotions analogously through our own, so that, inappropriate as such words might seem, we can talk about what birds hope and plan for. He scorns reductive ecosystem services lingo that defines creatures by what we get out of them.
Also like Dee, Foster quotes frequently from poetry. His prose is full of sharp turns of phrase and moments of whimsy and made me eager to try more of his work (I know the most about but have not yet read Being a Beast).
Swifts know the roar of lions better than the roar of the M25, the piping of hornbills better than the Nunc Dimittis of parish Evensong … Are memories of our eaves spiralling high above the Gulf of Guinea? … They don’t seem to prevaricate. One moment they’re there, the next they’re off, diving straight into the journey. It’s the way we should run into cold water.
As I’ve found with a number of Little Toller releases now (On Silbury Hill, Snow, Landfill), knowledge meets passion to create a book that could make an aficionado of the most casual of readers. Towards the close I was also reminded of Richard Smyth’s An Indifference of Birds: “When Homo sapiens has gone there will be lots of ideal swift holes in the decaying buildings we’ll leave behind.” It’s comforting to think of natural cycles continuing after we’re gone … but let’s start making the space for them now. Jonathan Pomroy’s black-and-white illustrations of swift behaviour only add to this short book’s charms.
With thanks to Little Toller Books for the free copy for review.
Waiting for Superman: One Family’s Struggle to Survive – and Cure – Chronic Fatigue Syndrome by Tracie White
Like Suzanne O’Sullivan’s books (most recently, The Sleeping Beauties), this is presented as an investigation into a medical mystery. White, a Stanford Medicine journalist, focuses on one family that has been indelibly changed by chronic fatigue syndrome – now linked with myalgic encephalomyelitis and termed ME/CFS for short. Whitney Dafoe was a world traveller and promising photographer before, in 2010, a diagnosis of ME/CFS explained his exhaustion and gastrointestinal problems. By the time White first met the family in 2016, the thirtysomething was bedbound in his parents’ home with a feeding tube, only able to communicate via gestures and rearranging Scrabble tiles. He couldn’t bear loud noises, or to be touched. At times he was nearly comatose.
Whitney’s father, Ron Davis, is a Stanford geneticist whose research has contributed to the Human Genome Project. He has devoted himself to studying ME/CFS, which affects 20 million people worldwide yet receives little research funding; he calls it “the last major disease we know nothing about.” Testing his son’s blood, he found a problem with the citric acid cycle that produces ATP, essential fuel for the body’s cells – proof that there was a physiological reason for Whitney’s condition. Frustratingly, though, a Stanford colleague who examined Whitney prescribed a psychological intervention. This is in line with the current standard of care for ME/CFS: a graded exercise regime (nigh on impossible for someone who can’t get out of bed) and cognitive behavioural therapy.
White delves into Whitney’s past, looking for clues to what could have triggered his illness (having mono in high school? a parasite he picked up in India?). She also goes back to the mid-1980s to consider the Lake Tahoe outbreak of ME/CFS, whose victims “looked too healthy to be sick and were repeatedly disbelieved.” The media called it “yuppie flu,” downplaying the extreme fatigue involved. White also meets Laura Hillenbrand, author of Seabiscuit, who suffers from ME/CFS and managed to write her bestselling books from bed. Like Whitney, she only has a certain allotment of energy and mustn’t use it up too fast.
- A neat connection: Stephanie Land, author of Maid, was Whitney’s ex-girlfriend when he was 19 and living in Alaska; she wrote a Longreads article about their relationship.
- The title is from a Flaming Lips lyric and expresses Whitney’s trust in his dad’s ability to cure him; the U.S. title is The Puzzle Solver and the working title was The Invisible Patient.
With thanks to Atlantic Books for the free copy for review.
Would you be interested in reading one or more of these?
Dylan Thomas Prize Blog Tour: Eye Level by Jenny Xie
The Swansea University International Dylan Thomas Prize recognizes the best published work in the English language written by an author aged 39 or under. All literary genres are eligible, so short stories and poetry sit alongside novels on this year’s longlist of 12 titles:
- Nana Kwame Adjei-Brenyah, Friday Black
- Michael Donkor, Hold
- Clare Fisher, How the Light Gets In
- Zoe Gilbert, Folk
- Emma Glass, Peach
- Guy Gunaratne, In Our Mad and Furious City
- Louisa Hall, Trinity
- Sarah Perry, Melmoth
- Sally Rooney, Normal People
- Richard Scott, Soho
- Novuyo Rosa Tshuma, House of Stone
- Jenny Xie, Eye Level
For this stop on the official blog tour, I’m featuring the debut poetry collection Eye Level by Jenny Xie (winner of the Walt Whitman Award of the Academy of American Poets), which was published by Graywolf Press in 2018 and was a National Book Award finalist in the USA last year. Xie, who was born in Hefei, China and grew up in New Jersey, now teaches at New York University. Her poems focus on the sense of displacement that goes hand in hand with immigration or just everyday travel, and on familial and evolutionary inheritance.
The opening sequence of poems is set in Vietnam, Cambodia and Corfu, with heat and rain as common experiences that also enter into the imagery: “See, counting’s hard in half-sleep, and the rain pulls a sheet // over the sugar palms and their untroubled leaves” and “The riled heat reaches the river shoal before it reaches the dark.” The tragic and the trivial get mixed up in ordinary sightseeing:
The tourists curate vacation stories,
days summed up in a few lines.
Killing fields tour, Sambo the elephant
in clotted street traffic,
dusky-complexioned children hesitant in their approach.
Seeing and being seen are a primary concern, with the “eye” of the title deliberately echoing the “I” that narrates most of the poems. I actually wondered if there was a bit too much first person in the book, which always complicates the question of whether the narrator equals the poet. One tends to assume that the story of a father going to study in the USA and the wife following, giving up her work as a doctor for a dining hall job, is autobiographical. The same goes for the experiences in “Naturalization” and “Exile.”
The metaphors Xie uses for places are particularly striking, often likening a city/country to a garment or a person’s appearance: “Seeing the collars of this city open / I wish for higher meaning and its histrionics to cease,” “The new country is ill fitting, lined / with cheap polyester, soiled at the sleeves,” and “Here’s to this new country: / bald and without center.”
The poet contemplates what she has absorbed from her family line and upbringing, and remembers the sting of feeling left behind when a romance ends:
I thought I owned my worries, but here I was only pulled along by the needle
of genetics, by my mother’s tendency to pry at openings in her life.
Love’s laws are simple. The leaving take the lead.
The left-for takes a knife to the knots of narrative.
Those last two lines are a good example of the collection’s reliance on alliteration, which, along with repetition, is used much more often than end rhymes and internal or slant rhymes. Speaking of which, this was my favorite pair of lines:
Slant rhyme of current thinking
and past thinking.
Meanwhile, my single favorite poem was “Hardwired,” about the tendency to dwell on the negative:
Though I didn’t always connect with Xie’s style – it can be slightly detached and formal in a way that is almost at odds with the fairly personal subject matter, and there were some pronouncements that seemed to me not as profound as they intended to be (it may well be that her work would be best read aloud) – there were occasional lines and images that pulled me up short and made me think, Yes, she gets it. What it’s like to be from one place but live in another; what it’s like to be fond but also fearful of the ways in which you resemble your parents. I expect this to be a strong contender for the Dylan Thomas Prize shortlist, which will be announced on April 2nd. The winner is then announced on May 16th.
My thanks to Midas PR for the free copy for review.